Gangster Soul Harmony Volume 1 Archive
Gangster Soul Harmony Volume 1 is the first installment in the rare soul compilation series created by record collector and curator George Miller Jr. in 2005.
Built from years of searching for obscure 45 RPM records, overlooked vocal groups and independently released soul music, Volume 1 established the musical direction that would become the foundation of the Gangster Soul Harmony series.
The compilation brings together 19 recordings spanning sweet soul, group harmony, deep soul, rare oldies and independent American soul music from the 1960s and 1970s.
Many of these records originally appeared on small regional labels, sometimes in limited quantities and with little surviving historical documentation.
This archive documents the known history behind each recording using surviving record-label information, contemporary music publications, artist histories, collector research, interviews and other archival sources.
Where information remains incomplete or disputed, that uncertainty is identified rather than presented as established fact.
1. Bull & El Capalaras — “No Sign Of Sadness”
Original Label: Bell
Year: Circa 1971–1972
Bull & El Capalaras recorded for Bell Records during the early 1970s, issuing soul sides including “No Sign Of Sadness” and “Girl Of My Heart.”
Very little verified personnel information surrounding the group has survived.
An important distinction exists between Bull & El Capalaras and another soul act known as Bull & The Matadors.
Older collector information has sometimes connected the two groups because of the shared use of the name “Bull,” but surviving artist documentation identifies Bull & El Capalaras as a separate recording group.
For that reason, the Gangster Soul Harmony Archive does not currently identify James “Bull” Parks of Bull & The Matadors as the vocalist of Bull & El Capalaras without further documentation.
Archive note: This entry remains open for additional personnel, songwriter and regional information.
2. Rock Candy — “I Don’t Think I’ll Ever Love Another”
Original Label: Dontee 103
Year: 1971
B-Side: “Alone With No Love”
“I Don’t Think I’ll Ever Love Another” was released on Dontee Records in 1971.
The history of the flip side creates an unusual discographic story.
“Alone With No Love” had previously appeared as a recording by The Contemplations on Dontee 101 in 1969.
When Dontee 103 appeared roughly two years later, the older recording was apparently reused and credited to Rock Candy alongside their new A-side.
Dead-wax information documented by collectors places the earlier Contemplations master in August 1969 and the Rock Candy issue in February 1971.
Discographic Oddity
Older accounts sometimes suggested that The Contemplations simply changed their name to Rock Candy.
The surviving recording evidence does not conclusively establish that.
Instead, it appears possible that Rock Candy recorded “I Don’t Think I’ll Ever Love Another,” while Dontee reused the earlier Contemplations master as the reverse side of the new single.
Until stronger personnel documentation surfaces, the Gangster Soul Harmony Archive treats Rock Candy and The Contemplations as separate identities rather than presenting a name change as fact.
3. The Fabulous Traits — “Lonely Man”
Original Label: Tele-Phonic
B-Side: “Love Is Strange”
Region: Chicago, Illinois
Era: Early 1970s
The Fabulous Traits were part of the Chicago vocal-group tradition.
Historical information connected with interviews conducted by soul historian Bob Abrahamian identifies the group with personnel including:
William Ledbetter
William Kirk Davis
Kenny Rydell
Gregory McEastland
Ronald Christian
The group has also been identified historically as The Original Traits and was later associated with the name Centre Stage.
“Lonely Man” appeared on the small Tele-Phonic label backed with “Love Is Strange.”
The exact year of release remains unclear in surviving documentation, so the Gangster Soul Harmony Archive currently places it generally within the early 1970s rather than assigning an unsupported exact date.
4. Four Below Zero — “Tell Me Why (We Can’t Be Friends)”
Original Label: P&P
Year: 1974
Region: New York
Producer / Label Connection: Patrick Adams
Four Below Zero were a New York vocal quartet consisting of:
Dornell Chavous
Moses McNeil
Cleveland Dickerson
Harry Watson
The group came to the attention of producer, songwriter and arranger Patrick Adams, one of the important figures in New York independent soul and disco.
Adams signed Four Below Zero to the P&P label, where “Tell Me Why (We Can’t Be Friends)” appeared in 1974.
The record gained regional attention but did not become a major national hit.
The group later recorded “My Baby’s Got E.S.P.”, which achieved greater recognition and was eventually licensed to Roulette Records for wider distribution.
“Tell Me Why” documents an earlier chapter in both Four Below Zero’s career and the independent New York recording world surrounding Patrick Adams.
5. The Supurbs — “You Don’t Care”
Original Label: Alteen AL-3004
Year: Circa 1970
Region: Chicago, Illinois
A-Side: “Only For Lovers”
The Supurbs recorded “Only For Lovers” backed with “You Don’t Care” for the Chicago-based Alteen label.
Alteen Records was founded in the late 1960s by Bill Meeks, who also worked in commercial music and recording.
Historical collector research connects Meeks with production work for the label alongside musicians including Marshall Thompson and Billy McGregor.
Earlier Gangster Soul Harmony documentation dated the release to 1971, but surviving Chicago discographic research points more strongly toward 1970.
Different label-color variations have circulated among collectors.
Because questions remain about which variations were original issues and which may have appeared later, the Gangster Soul Harmony Archive does not currently identify every known color variation as an original pressing.
6. The Vibrations — “When Will My Turn Come”
Original Label: North Bay NB-307
Year: 1972
A-Side: “Sneakin’”
Arranger: Thom Bell
Production: Mighty Productions
“When Will My Turn Come” was released by The Vibrations on North Bay Records in 1972.
The single paired the song with “Sneakin’.”
One of the most historically significant credits connected to the record is Thom Bell, who is credited as arranger.
Bell became one of the defining architects of Philadelphia soul through his work with artists including The Stylistics, The Delfonics and The Spinners.
The song carries the polished orchestration and vocal-group sensibility associated with that developing Philadelphia sound.
Published credits associate “When Will My Turn Come” with the writers Dozier, Sigler, Scott, Creed and Philips.
7. The Barons — “I’m So Lonely”
Original Issue: Super Dome 501
Later Issue: Alithia AR-6049
Year: 1973
Region: New Orleans, Louisiana
Other Side: “Some Kind Of Fool”
The Barons were a New Orleans vocal group whose recording history extended across several independent labels.
Their catalog included releases connected with labels such as Etah, Shagg, Mode, Shout and Chimneyville.
Surviving discographies indicate that “I’m So Lonely” first appeared with “Some Kind Of Fool” on Super Dome 501.
The record was subsequently issued on Alithia AR-6049 in 1973, with “I’m So Lonely” receiving greater prominence.
This sequence illustrates a common pattern in independent soul history, where a recording might move between small labels or be reconfigured as local interest developed.
8. The Perfections — “Love Storm”
Original Label: Drive 6230
Year: 1973
B-Side: “Leaning Post”
Producers: Willie Clarke and Clarence Reid
Recording Context: Miami, Florida
“Love Storm” was released by The Perfections on Drive Records in 1973.
The recording was produced by Willie Clarke and Clarence Reid, two important figures within the Miami soul and funk scene associated with Henry Stone’s network of labels.
Archival research identifies The Perfections as having Indianapolis roots, while the recording itself belongs to the Miami/Drive Records production environment.
The group has also been associated historically with performances supporting Betty Wright as part of the Betty Wright Revue.
“Love Storm” therefore connects two regional soul histories: the group’s Midwestern beginnings and the thriving South Florida recording industry of the early 1970s.
9. Reuben Bell & The Casanovas — “It’s Not That Easy”
Original Label: Murco
Year: 1967
Region: Shreveport, Louisiana
B-Side: “Hummin’ A Sad Song”
Lead Vocal / Songwriter: Reuben Bell
Reuben Bell was a Louisiana soul singer whose emotionally intense vocal style became highly regarded among deep-soul collectors.
“It’s Not That Easy” was released with The Casanovas on Murco Records in 1967.
Bell is documented as both the lead vocalist and songwriter.
The single was backed with “Hummin’ A Sad Song.”
Although the record did not become a major mainstream hit, “It’s Not That Easy” developed a lasting reputation among deep-soul enthusiasts and has appeared on later archival collections documenting Southern soul and the Murco catalog.
10. The Cautions — “Poor Loser”
Original Label: Shrine SR-115
Year: 1966
Region: Washington, D.C.
A-Side: “No Other Way”
Songwriter: Eddie Singleton
“Poor Loser” was issued by The Cautions on Shrine Records in 1966.
Shrine was a short-lived but historically important Washington, D.C. soul label associated with Eddie Singleton and Raynoma “Miss Ray” Gordy.
Singleton is credited as the writer of “Poor Loser.”
The scarcity of many Shrine releases has been connected to a fire at the Waxie Maxie distribution operation, which reportedly destroyed quantities of label inventory.
As a result, surviving original Shrine records became highly sought after among collectors.
The Cautions’ recording represents the type of rare independent soul release whose reputation grew considerably after its original commercial life had ended.
11. The Velons — “Why Don’t You Write?”
Original Label: BJM
Year: 1968
Region: Washington, D.C.
The Velons were a Washington, D.C. vocal group whose history stretched back to the late 1950s.
Early members included:
John King
Jimmy Falwell
Gilbert Farrell
James “Buddy” Owens
Members of the group began singing together while attending McKinley Tech High School.
Their broader musical circle even included a young Marvin Gaye, who played drums with singers in their early orbit before relocating to Detroit and joining Motown.
“Why Don’t You Write?” became The Velons’ first released single when it appeared on BJM Records.
Historical accounts describe the song as a dedication to American servicemen stationed in Vietnam.
The stronger surviving group history supports 1968 as the release year.
12. Steve Mancha — “He Stole The Love That Was Mine”
Recording Year: 1967
Region: Detroit, Michigan
Songwriter: Cam Wilson
Original Status: Unreleased during the original recording period
Steve Mancha was the professional name of Clyde Wilson, a Detroit singer and songwriter closely associated with producer Don Davis and the Groovesville recording operation.
Mancha recorded numerous sides during Detroit soul’s highly productive 1960s period.
“He Stole The Love That Was Mine” was recorded around 1967 but did not receive a contemporary commercial release.
The song remained in the vaults for decades before surfacing through later archival releases connected with the Groovesville catalog.
The composition is credited to Cam Wilson.
Its preservation on Gangster Soul Harmony Volume 1 reflects another part of rare soul collecting culture: recordings that were never properly released during their own era but survived through tapes, acetates, archival masters or later reissues.
13. The Young Vandals — “I’ve Been Good To You”
Original Label: T-Neck TN-917
Year: 1970
B-Side: “Too Busy Thinking ’Bout My Baby”
Producer: The Isley Brothers
Songwriter: Smokey Robinson
The Young Vandals recorded for the Isley Brothers’ T-Neck label.
The group had previously performed as The Young Tempts, a name that reportedly brought objections because of its obvious similarity to Motown’s Temptations.
The act subsequently became The Young Vandals.
One member was Damon Harris, who would later join The Temptations.
“I’ve Been Good To You” was issued on T-Neck in 1970 and produced by The Isley Brothers.
The composition itself was written by Smokey Robinson and had previously been recorded by The Miracles.
Some surviving label information has contributed to confusion over the writing credit, but the composition belongs to Robinson.
This creates an unusual historical circle: a young vocal group forced away from a Temptations-related name later included a singer who would actually become a member of The Temptations.
14. The Servicemen — “My Turn”
Original Label: Patheway 102
Year: 1967
Region: Phoenix, Arizona / Luke Air Force Base
Lead Vocal: Edgar “Goody” Goodman
Songwriters: Hadley Murrell and James Mitchell
B-Side: “I Need A Helping Hand”
The Servicemen formed among active-duty military personnel stationed around Luke Air Force Base near Phoenix, Arizona.
Producer and radio personality Hadley Murrell became involved with the group after hearing them sing.
“My Turn” emerged from their 1967 recording sessions and was released on Patheway Records.
Edgar “Goody” Goodman has been identified as the lead singer on the recording.
Songwriting credits identify Hadley Murrell and James Mitchell.
The record also developed an unusual collector history because some copies of the Patheway release were pressed with the labels reversed, creating known label variations.
The Servicemen’s history gives “My Turn” an especially distinctive place within the Gangster Soul Harmony catalog: a rare harmony record created by men who were literally serving in the military when the group existed.
15. The Differences — “That Was The Day”
Original Label: Mon’ca M-1783
Year: 1971
B-Side: “Five Minutes”
Songwriter: Clifton Dyson
Region: Washington, D.C. connection
The Differences released one known single on the Mon’ca label in 1971.
The record paired “Five Minutes” with “That Was The Day.”
Both sides were written by Clifton Dyson, brother of singer Ronnie Dyson.
Collector histories identify Clifton Dyson as an important figure behind the group and connect him with later activity involving Dyson’s Faces.
The two sides of the record developed different collector followings.
“Five Minutes” became known within crossover and Northern soul circles, while “That Was The Day” found particular appreciation among sweet soul and lowrider collectors.
A reported connection between member Jerome Saunders and the group Family Circle exists within collector history, although additional documentation is still needed before the Gangster Soul Harmony Archive treats that relationship as conclusively verified.
16. The Sinclayrs — “You Came Along”
Original Label: Boss Town
B-Side: “One And One Are Two”
Region: Possibly Boston area
Year: Unconfirmed
“You Came Along” appeared on the small Boss Town label backed with “One And One Are Two.”
Very little reliable information about this particular incarnation of The Sinclayrs has survived.
The Boss Town label name has led collectors to associate the record with the Boston area, but the Gangster Soul Harmony Archive currently treats that geographic connection as very probable rather than confirmed.
Discographic Caution
Another group using the name The Sinclayrs recorded for Detroit’s Fortune label during the early 1960s.
That group also recorded a song called “You Came Along.”
Despite the shared group name and song title, surviving evidence does not currently establish that the Fortune and Boss Town recordings came from the same group.
The Gangster Soul Harmony Archive therefore keeps the two identities separate unless future research proves a connection.
17. The Topics — “I Don’t Have To Cry”
Original Label: Carnival 520
Year: 1966
Region: Newark, New Jersey
A-Side: “She’s So Fine”
Producer: Joe Evans
Songwriter: Robert Lee McCoy
The Topics developed within the New Jersey vocal-group scene surrounding Joe Evans’ Carnival Records.
The group had earlier performed under names including The Uniteds and briefly The Cymbals before becoming The Topics.
Personnel associated with the group during the Carnival period included:
Ronald McCoy
Vaughn Curtis
Wesley “Bobby” Adams
Their Carnival debut paired “She’s So Fine” with “I Don’t Have To Cry” in 1966.
Joe Evans produced the recording.
“I Don’t Have To Cry” is credited to Robert Lee McCoy, who would also contribute songwriting to other artists within the Carnival family.
The record represents the strong vocal-group tradition that developed around Newark and the independent Carnival label.
18. The Lintons — “Lost Love”
Original Label: Erica 005
Year: 1972
Region: Chicago, Illinois
A-Side: “Don’t You Ever Walk Away”
Songwriter: W. Hartford
Producer: Byron Gregory
Arranger: Johnny Cameron
The Lintons released “Don’t You Ever Walk Away” backed with “Lost Love” on Erica Records.
Earlier Gangster Soul Harmony documentation identified the record as a 1970 release.
Surviving discographic information more strongly supports 1972.
“Lost Love” is credited to W. Hartford.
The record was produced by Byron Gregory and arranged by Johnny Cameron.
The Erica label belonged to the wider network of small independent Chicago soul labels operating during the period.
“Lost Love” has since developed a strong reputation among collectors of Chicago harmony and sweet soul.
19. The Fidelics — “Lovers In The Park”
Original Label: Rising-Soul RS-109
Year: 1968
Region: Philadelphia, Pennsylvania
B-Side: “I Love You Baby”
Songwriter: J. Harvey
Lead Singer: James Murphy
Known Members: Glen Montgomery and Phillip Gaye
Recording Studio: Virtue Studios, Philadelphia
“Lovers In The Park” was released by The Fidelics on Rising-Soul Records in 1968.
The record was recorded at Virtue Studios in Philadelphia, one of the city’s important independent recording facilities.
James Murphy has been identified as lead vocalist, with Glen Montgomery and Phillip Gaye among the documented members associated with The Fidelics.
Both sides of the single were written by J. Harvey.
Publishing credits associated with the release include Binn Music, Virtu Music and Mary-K Music.
The record has endured as a highly regarded Philadelphia harmony ballad and provides a fitting closing selection for Gangster Soul Harmony Volume 1.
About Gangster Soul Harmony Volume 1
Gangster Soul Harmony Volume 1 established the blueprint for the compilation series that followed.
The 19 selections document independent soul recordings from cities and regional scenes including Chicago, Detroit, New Orleans, Washington, D.C., Newark, Philadelphia, Indianapolis, Miami, Louisiana and New York.
Some of the artists went on to larger careers.
Others left behind only a handful of recordings.
In several cases, the surviving 45 RPM records and the research conducted by collectors now represent some of the most accessible evidence that these groups and sessions ever existed.
That is the purpose of the Gangster Soul Harmony Archive.
The archive is not intended merely to document which songs appeared on a compilation.
It exists to preserve the people, independent labels, cities, studios, writers, musicians and stories behind the records whenever reliable information can still be recovered.
Historical research is ongoing.
When stronger documentation corrects older collector information, the archive will be updated accordingly.
Gangster Soul Harmony — Find the Music. Preserve the History. Keep the Records Alive.
Research Sources
The Gangster Soul Harmony Volume 1 Archive was researched and cross referenced using surviving label documentation, contemporary music industry publications, artist interviews, specialist discographies, collector research and archival music resources.
Major research sources consulted include:
World Radio History — contemporary Cash Box and Record World documentation, reviews, advertisements and release information.
AllMusic — artist histories, recording information and discographic references.
Soul Source — rare soul interviews, collector research, pressing information and historical discographic discussion.
Nation’s Capital Doo-Wop — Washington, D.C. vocal-group histories, including The Velons.
Soulful Kinda Music — independent soul and vocal-group histories.
Buckeye Beat and regional soul archives — artist and label histories relating to Midwestern independent soul.
45cat and specialist 45 RPM discographies — surviving release information, catalog numbers, label credits and pressing documentation.
Global Dog Productions — independent record-label discographies.
Ace / Kent archival research — historical information regarding Shrine Records and other rare soul recordings.
Specialist record dealers and auction archives — verification of surviving labels, catalog numbers and original pressing details.
Bob Abrahamian interview research and related Chicago soul archives — vocal-group personnel and historical information.
Gangster Soul Harmony Collection and George Miller Jr. curator notes — original vinyl sources, collector knowledge and historical information preserved during the creation of Gangster Soul Harmony Volume 1.
Because independently released soul records were often poorly documented when originally issued, some historical details remain incomplete.
The Gangster Soul Harmony Archive will continue to update individual entries when stronger primary documentation or firsthand artist information becomes available.
Last archival revision: 2026